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Pip and Estella: Expectations of Love

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Pip and Estella: Expectations of Love Pip and Estella: Expectations of Love From the time he first sees her at Satis House, Estella is, for Pip, the source of his most intense feelings, the centre of the dreams and hopes that are to give his great expectations their deepest meaning. And yet, this "centre" is generally regarded as the weakest aspect of Great Expectations-Dickens being noto­ riously inadequate in his dealings with love between men and women, and Estella, it would seem, lacking not only a heart but also other flesh-and-blood characteristics that might establish her as a credible object of Pip's affections. Furthermore, there is some doubt that it is actually Estella who inspires Pip's feelings: "he doesn't love her, she is unlovable and unloving, he only loves what she represents for him".1 At any rate, his feelings for her are decidedly curious-romantic, self-lacerating and impotent to a degree that Dickens, it is often argued, does not see. The novel is clearly interested in the variousness, the peculiar strengths and weaknesses of love, and especially in its power to challenge self­ centred and materialistic interests. But in a context where Pip comes deeply to love his convict benefactor, and to reaffirm the strong bonds of affection for Joe, the dreamy, repetitive adoration of Estella looks, at face value, thin, and lacking in the intended seriousness. Robert Garis, while he does indeed question whether Pip's feeling for Estella is offered for our unqualified approval, is inclined to suggest that Dickens's criticism of it is barely con­ scious, and reaches its inevitable limits in the agreed, civilized values we must all share with Dickens. "We have known from the beginning of the novel that what is missing from Pip's life is any free expression of libido, and that it is missing because it is held in contempt and horror by the ideals of the civilization within which Pip tries to make a life for himself."2 Dickens's perception that Pip cannot experience any very full or adequate love for Estella (and therefore for Biddy, or for any other woman) is indicated in the vividly defining context he gives to the relationship between Pip and Estella. It is in the surrealistic atmosphere of Satis House that they meet; the development of their relationship into a full and free exchange of feeling is frus­ trated not by the inhibiting ideals of genteel society, but by the Q. D. Leavis, "How we Must Read 'Great Expectations' ", in Dickens the Novelist (London, 1970), p. 302. 2 The Dickens Theatre (London, 1965), p. 208. 126 SYDNEY STUDIES much more active and potent passions that thrive in Miss Havisham's candlelit world. When, in reply to her injunction "love her, love her, love her!" Pip replies in his reveries, "I love her, I love her, I love her," we have seen enough already to know that he does indeed, and precisely in accord with the notion of love Miss Havisham herself holds: "I'll tell you," said she, in the same hurried passionate whisper, "what real love is. It is blind devotion, unquestioning self-humiliation, utter submission, trust and belief against yourself and against the whole world, giving up your whole heart and soul to the smiter-as I did!"3 A recognition that Dickens presents the flowering of such feelings as profoundly unnatural and uncreative is the necessary starting­ point in relating Pip's feeling for Estella to his wider expectations, and in drawing attention to Dickens's interest in Estella. For she is so insistently the creature of Pip's imagination that it is easy to miss the fact that she has another and distinct existence as the creature of Dickens's. The inviting of the blacksmith's boy to "play" at Satis House is interpreted at the forge and beyond as an extraordinarily promising opportunity for Pip to better himself, the practical Mrs Joe being the first to see where it might lead: "for anything we can tell, this boy's fortune may be made by his going to Miss Havisham's" (p. 82). It is also thought to promise the unveiling of hidden mysteries, for Miss Havisham's eccentricity and seclusion arc legendary. Sent off at this turning-point of his life with a full Pumblechookian ceremony and speech, Pip is already preparing himself, in some measure, for the extraordinary, dream-like ex­ perience that begins when Estella locks the gates on the known world. In the darkened rooms with the stopped clocks and the grotesque, decaying trappings of the forestalled wedding, he is to find vista upon vista evoking the mind's capacity to actualize its needs and desires: Certain wintry branches of candles on the high chimney-piece faintly lighted the chamber, or, it would be more expressive to say, faintly troubled its darkness. It was spacious, and I dare say had once been handsome, but every discernible thing in it was covered with dust and mould, and dropping to pieces. The most prominent object was a long table with a tablecloth spread on it, as if a feast had been in preparation when the house and the clocks all stopped together. An epergne or centrepiece of some kind was in the middle of this cloth; it was so heavily overhung with cobwebs that its form was quite undistinguishable; and, as I looked along the yellow expanse out of 3 Great Expectations (Penguin, Harmondsworth, 1973), pp. 261, 265. All subsequent page-references are to the Penguin edition. 127 SYDNEY STUDIES which I remember its seeming to grow, like a black fungus, I saw speckle-legged spiders with blotchy bodies running home to it, and running out from it, as if some circumstance of the greatest public importance had just transpired in the spider communities ... These crawling things had fascinated my attention and I was watching them from a distance, when Miss Havisham laid a hand upon my shoulder. In her other hand she had a crutch-headed stick on which she leaned, and she looked like the witch of the place. "This", said she, pointing to the long table with her stick, "is where I will be laid when I am dead. They shall come and look at me here." (p. 112) Miss Havisham's vision is almost accomplished. Force of will and inflexibility of purpose have made her world a place which per­ petuates the decline of hope and comfort into stagnation and decay. We are conscious, through Pip's sharp impressions of her, of how completely Miss Havisham has thus revealed herself. But his own reactions are numb, detached, even whimsical: what is grotesque and distasteful is registered with no sense of immediate disturbance. The "witch of the place" is not a fearful figure for the child, who is already under her spell, so that normal, daytime reactions and valuations are kept at a remove and he can neither cry out nor articulate any feelings. Pip's account reaches out naturally enough for the language of fairy-tale, and Dickens's writing makes that language profoundly appropriate. This appari­ tion of a woman so dedicated to the travesty of what is natural and beneficient, and to the enchantment of childish innocence, is a witch in anyone's terms, and Satis House is recognizably the experience of fairy-tale or dream, where quotidian expectations are put aside, and secret fears and desires become real. Satis House becomes Pip's dream, as it is Miss Havisham's, and all the sequences that happen there have the distinctive quality of dream experience, the quality evoked here by the fungus that seems weirdly to grow, the sharply detailed insect life, steadily encroach­ ing and abnormally potent. Satis House is to remain Pip's private world, kept apart from his workaday life at the forge. The privacy of the experience is for Pip as for Miss Havisham at once liberating to the imagination and the desires, and self-enclosed, self-deluding, at odds with what Pip himself feels to be the defining realities of his life as an apprentice. For it is in the nature of the dream that the feelings so intensely charged and recharged by his visits to Satis House are denied any fulfilment in the world of action. It is that world that Satis House parodies and is parodied by as its thre'e figures gyrate to the thin echoes of Joe's robust working song, "Old Clem". 128 SYDNEY STUDIES Pip's most intense, compelling feelings are driven inwards. There is no doubt that he has intense feelings, and that the two children bidden to "play" and "sing" on command bring to that artificial task spontaneous energies that challenge, from the start, Miss Havisham's attempt to control them. Satis House cannot shut out the ongoing processes of life itself, however weird and para­ sitic they become in that atmosphere: it is Miss Havisham's failure to control those processes in herself that so grotesquely mocks her attempts to stop the clocks: "the dress had been put on the rounded figure of a young woman, and ... the figure upon which it now hung loose, had shrunk to skin and bone" (p. 87). The girl who admits Pip to Satis House chatters to him easily and artlessly, before she is quickly taught to be more calculating. HCT jibes to Pip are not the calculated insults he registers and which Miss Havisham's manipulation of class feeling make them, but much more spontaneous, childish, rcactions to what is diffcrent­ "why, he is a common labouring boy." "He calls all knaves Jacks, this boy." And the Pip so anxious to impress, and to bettcr him­ self, is still capable of honest responses to the first of Miss Havisham's catcchisms about his feelings for the beautiful young lady: "I think she is very proud," I replied, in a whisper.
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